Shynola directs “Dr. Easy” in hopes of fueling a feature length film in the future, so “Dr. Easy” in its ten minute length is described as a prologue to the bigger narrative. On its own though, “Dr. Easy” is a wonderful and stark look at the future and out absolute dependence on technology and how it will do the work for human beings.
In the sub-genre of killer children films, “Who Can Kill a Child?” is the best I’ve ever seen. Sure, many people will choose “Village of the Damned” but for my money, it doesn’t equal the grit and grim atmosphere of director Narciso Ibáñez Serrador’s horror film. Not by a long shot. “Who Can Kill a Child?” experienced a lot of censorship and banning upon its initial release, because it’s a film that doesn’t flinch from its premise.
Director James Watkins survival thriller is one part mediocre social commentary, two parts solid thriller, and one part moronic drama. “Eden Lake” seems to want to be it all, offering characters that simply can’t let their confrontation with rowdy teens go, all the while hinting at the complexities of dysfunctional violent home and how they breed violence within their confines. But much of that is destroyed when Watkins seeks to turn his juvenile villains in to scowling black and white monsters motivated on violence and violence only. There aren’t any shades of grey to them until the very end, and by then the movie has become so ludicrous it’s hard to soak in the thoughts on the vicious cycle of violence.
Director Daniel Benmayor seems to want to create his own version of “Battle Royale” with a hint of “Saw” and “Predator” mixed in to the fold. In the process, he manages to create one of the most moronic genre entries in a very long time. “Paintball” tries to take a normal sport and turn it on its head, in hopes of becoming something in the arena of “Jaws.” But the only thing this movie will inspire you not to do is watch it again. “Paintball” works against logic and common sense from the get go by writing characters that are all numbskulls. They’re so idiotic that when it becomes painfully clear they’re being hunted, they still hold their paintball guns in front of them like weapons and aim. What were they hoping to do with ineffective paintballs? Stain the killer to death?
It’s always nice when animators aren’t always interested in appealing to the whimsical and fantastical elements of animation. Sometimes, animators want to be bizarre, and “Murgi Keno Mutant” is about as bizarre as it gets. Even the animation recalls the work of Ralph Bakshi at certain points. In the near future, food is in short supply and the only meat available come from giant mutant chickens, which they survive on.
This is what the “Star Wars” prequels should have been. An amazing young warrior torn by lust for power by an evil master, and honor and duty by a noble master, both of whom are fighting for the young soul’s innocence. If only, folks, if only. In the end though, Director Ang Lee’s masterpiece made me wish Director George Lucas would have just paid attention and taken some notes! That said, “Crouching Tiger, Hidden Dragon” is beautiful, it’s wonderfully acted, and yes, it’s a masterpiece. “Crouching Tiger, Hidden Dragon” is a beautifully layered and complex storyline with numerous sub-plots, all of which never go unresolved and under explored.
Every three to four years, a new indie filmmaker thinks they can rise up and give a new flavor or angle to “Night of the Living Dead” and provide audiences with a new look at Romero’s classic horror film. “Night of the Living Dead” remakes are cyclical and the last time we had a remotely fresh take on the film was in 1990, and that’s due to the fact that Tom Savini had help from friend George Romero. Every other rehash since has been piss poor, embarrassing, and just damn unnecessary. How many times can we keep watching the same old story? How many new perspectives can you add? It’s impossible to make the 1968 film feel new and original when the first film mastered it, in the first place. “Night of the Living Dead: Resurrection” only has the illusion of presenting itself as a new version of the Romero tale because the entire rehash is now set in the UK. See? It’s not the same old indie filmmakers trying to upstage Romero, it’s new! In truth thiscan’t stand on two legs since it’s anything but a remake.